Always order ** DEU ITT^S ^^ Acting Plays. 

PRTCF. 15 OKNTS. 



PS 2248 DE WITT'S ACTING PLAYS. 
.L77 

-» ^ (iV\iiiil3er 322.) 

Copy 1 




FOR 

MYSELF ALONE. 

IN THREE ACTS. 
By ^^ MARIUS.^' 



TOGETHER WITH 



A Description of tlie Costumes — Ca?t of tlie Cliaracters — Entrances 

and Exits — Kelative Positions of tlie Performers on the 

Staure — and tlie whole of the Staye Bu.siness. 




'^^^ ^ DE WITT. PUBLISHER, 

^^/^'^^ ^**' ^'^ -Ro*<^ street 




A COMPLETE DESCRIPTIVE CATALOGUE OF OE WITTS ACTINO 
NOW ^ PLAYS, AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, containing 



READV. 



I 



Plots, Costume, Scenery, Time of Representation, and every other informa- 
tion, mailed free and post-paid. 



ETHIOPIAN AND COMIC DRAMA. 



Nothing so thorough and complete in the way of Ethiopian and Comic Dramas has ever 
been priutecl as those that appear in the following list. Not only are the plots excellent, the 
characters droll, the iucideuts funny, the language humorous, but all the situations,Jby-play. 
positiuus, pantomimic business, scenery, and tricks are so plainly set down and clearly 
explained that the merest novice could put auj- of them on the stage. Included in this 
Catalogue are all the most laughable and effective pieces of their class ever produced. ^ 

*:j5* In ordering please copy the figures at the commencement of each piece, which 
indicate the number of the piece in " De Witt's Ethiopian and Comic Dkama." 

j8®= A:iy of the following Plays sent, postage free, ou receipt of price — Fifteen Cents 
each. 



jg®= The figure following the name of the Play denotes the number of Acts, 
figures in the columns indicate the number of characters — M. male; F. female. 



The 



!ui. 

73. 
107. 

113. 
133. 

43. 

42. 

79. 

40. 

6. 

10. 

11. 

146. 



126. 
127. 

128. 



41. 
144. 

140. 
12 
53. 
G3, 

131. 



Absent Minded, Ethiopian farce 1 124. 

act 3 1 111. 

African Box, burlesque, 2 scenes ... 5 
African us Bluebeard, musical Ethi- 

opiaH burlesque, 1 scene 6 2 

Ambitiou, farce, 2 scenes 7 

Awful Plot (An) Ethiopian farce, la. 3 1 

Baby Elephant, sketch, 2 scenes 7 1 

Bad" Whiskey. Irish sketch, 1 scene. 2 1 
Barney's Courtship, musical inter- 
lude, 1 act 1 2 

Big Mistake, sketch, 1 scene 4 

Black Chap from Whitechapel, Ne- 
gro piece 4 

Black Chemist, sketch, 1 scene 3 

Black-Ey'd William,sketch,2 scenes 4 1 
Black Forrest (The),Ethiopian farce, 

1 act 2 1 

Black Magician (De), Ethiopian com- 
icality 4 2 106 

Black Statue (The). Negro farce 4 2 

Blinks and Jinks, Ethiopian sketch. 3 1 
Bobolino, the Black Bandit, Ethio- 
pian musical farce, 1 act 2 1 

Body Snatchers (The), Negro sketch, 

2 scenes 3 1 

Bogus Indian, sketch, 4 scenes 5 2 

Bogus Talking Machine (The), farce, 

1 scene 4 

Bruised and Cureil. sketch. 1 scene. 2 
Ciiarge of the Hash Brigade, comic 

Jrisj- musical sketch 2 2 

Cliristmas Eve iu the South, Ethio- 

nian farce, 1 act 6 2 

Coal Heaver's Revenge, Negro sketch, 

1 scene 6 

Coming Man (The), Ethiopian sketch. 

2 scenes 3 1 

(Cremation, sketch, 2 scenes 8 1 

Crowded Hotel (The), sketch, 1 sc. 4 1 

Cupid's Frolics, sketch, 1 scene 5 1 

Daguerreotypes, sketch, 1 scene 3 

Damon and Pythias, burlesque, 2 sc. 5 1 
Dnrkey's Stratagem. sk<»tcli. 1 scene 3 1 
Darkey Sleep Walker (The), Ethio- 
pian sketch, 1 scene 3 1 



70. 
61. 
142. 

23. 
118. 

3. 

48. 

68. 
1.50. 

71. 
123 



1 
2 i 



Deaf as a Post, Ethiopian sketch 2 

Deeds of Darkness, Ethiopian ex- 
travaganza, 1 act 6 1 

Desperate Situation (A), farce, 1 sc. 5 2 

Draft (The), sketch, 2 scenes 6 

Dutchman's Ghost, 1 scene 4 1 

Dutch Justice, laughable sketch. 

1 scene 11 

Editor's Troubles, farce, 1 scene. . . G 

Eh ? What is it ? sketch 4 1 

Election Day, Ethiopian farce, 2 sc. 6 1 
Elopement (The), farce, 2 scenes. . . 4 1 

Excise Trials, sketch, 1 scene 10 1 

Fellow that Looks like Me, inter- 
lude, 1 scene 2 1 

First Night (The>, Dutch farce, 1 act 4 2 
Fisherman's Luck, sketch, 1 scene. 2 
Fun iu a Cooper's Shop, Ethiopian 

sketch 6 

Gambrinus, King of Lager Beer, 

Ethiopian burlesque, 2 scenes 8 

German Emigrant (The), sketch, Isc. 2 
Getting Square on the Call Boy, 

sketch. 1 scene 3 

Ghost (The), Sketch, 1 act 2 

Ghost in a Pawn Shop, sketch, 1 sc. 4 

Glycerine Oil. sketch, 2 scenes 3 

Going lor the Cup, interlude 4 

Good Night's Rest, sketch, 1 scene. 3 
Go and get Tight, Ethiopian sketch. 

1 scene 6 

Gripsack, sketch, 1 scene 3 

Guide to the Stage, sketch 3 

Happy Couple. 1 scene 2 1 

Happy Uncle Rufus. Ethiopian mu- 
sical sketch, 1 scene 1 1 

Hard Times, extravagaraza. 1 scene. 5 1 
Helen's Funuv Babies, burlesque, 

1 act ! 6 

Hemmed In. sketch 3 1 

High Jack, the Heeler, sketch, 1 sc. 6 

Hippotheatron, sketch 9 

How to Pay the Rent, farce, 1 scene 6 

In and Out, sketch. 1 scene 2 

Intelligence Office (The), Ethiopian 
sketch, 1 scene 2 1 



FOR MYSELF ALONE, 



E Brama^ 



IN THREE ACTS. 



By ^^MAEIUS." 



TOOSTESB WITH 



A. DESCRIPTION OF THE COSTUMES —CAST OP THE CHARACTERd->ISr« 

TIIANCLS AND EXITS — RELATIVE POSITIONS DP THE PEKFORK- 

£]^ ON TILE STAGE, AND THE WHOLE OF THE STAGfi 

BUSINESS. 



JAM 22 1885^ 



NEW YORK: 
DE WITT, PUBLISHER, 

No. 33 Rose Street. 

, — _ «_ 



JOB SiTSELF ALONE. ^«-n *"' 



^^ 



CHARACa'EKS. 



Habbt DttvaLv a literai-y jcynug geutleman, age abont 2Su 
Jack Bybos, ) .- .. x j .- « 

CHABWE 1.-LEXCHER. J '^ *^" "*'«'«' '"^"^^ *** ^"^- 

Silas B-ucviss^ Hurry's nude, age abo\ii 65. 

JaHS BixCBKK, a lawyer, age aLH>»t 55>, 

Majob TwiTiEP., of the English ariuy, age about 55, 

Jaues CAVEjexoB, a wealthy yoaug mau, agu about SS^ 

Boy. 

AKsni; SfoWKBLiT, niece and ward oi Mr. Blerins, age 301 

Jensik Blevis», Mr, B.'s danghter, ago 28, 

jSebyakt, 



TIME OF PLAYING— ONE HOUR AND A QUABTEB. 



SCENEKV. 

ACT I,— A larg^e plafnly-fomiBlied room. Door id flat c; fable »Dd cbmrs c; 

JoBiige Ia ; fireplace », 

ACT II,— Haii«Jsoi«ely-lnmi»be(T drawing- rooBi, lf>oSing out on Terantla aud pic- 
Inresqne Jaiitlscape at back. Door in flat c. ; windows ezkch side of door, rpeiiiug to 
floor; doors R, 2 e, aud i*. 2 e. ; sofa r. front; easy chairs i. front; fancy table aud 
chair B. c; cabinet desk against wall L. Otb&rth^niture tastetully ari-auge<L 

ACT UL— Same a» Act IL 



COSTUMES. -Modern. 



- PROPERTIES. 

Act I. — Ctjps, plate*, goblet, ranall bottle of wine, writing materials, etc., for 
table; pipe for Habby; amall wooden box containing Bmall package of coffee, a half 
dozeu cggsand three or four email packages; small tin pail; cofTee-pot; coins aud 
pawn ticket for Jack. 
Act II.— Cigarettes aud lighters or matches for Jack and Harrt, 
Act in.— Eyeglasa for Cavebton; pail for Major Twitter; bnnch of kejo; pa- 
pers and wallet containing bank notes in cabinet desk. 



STAGE DIRECTIONS. 



R means Eight of Stage, facing the Audience; L. Left; C, Centre; R. C. Right 
of Centre; L. C. Left of Centre; D. F, Door in tb« Flat, or Scene running across 
the back of the Stage; C. D. F. Centre Door in the Flat; R. D. F. Right Door in the 
Flat; L. D. F. Left Door in the Flat; R. D. Right Door; L. D. Left Door; 1 E. Firxt 
Entrance; 2 F.. Second Entrance; U. E. Upper Euti-auce; 1, 2 or 3 G. First, Second 
or Third Groove. 

R... ,^ ^^...R^C. C. L. C. ♦ L. 

JlSf The reader is BupBqsed to be upon the stage facing the- audience. 



/^- 3^s-/t 



FOE MYSELF ALONE, 



ACT I. 

SCENE — A large hut plainly furnished room. Boor in flat c. ; a table, 
and chairs c, a lounge, l. and a fireplace r. The table is laid for 
supper; a bottle of wine, a glass, two or three cups, plates, etc., 
upon it. As curtain rises Hakry Duval is seen, writing at end 
of table. Jack Byron is kneeling, bloiving the fire. 

Jack. Cotifound it, Harry, this tire certainly has a fit of tlie blues to- 
day; it's almost as bad as ourselves. I can't ijet it to burn. 

Harry. Oh, never mind the fire, Jack, it isn't cold, and we don't need 
it; so we'll save expense. 

Jack. Bother expense ! Here you sit, Harry, day after day, too side 
to hold a pen in your hand, writinii: for these coiifounded niaiiazines, 
that won't pay a fellow enouirh to buy bread and water with, and worry- 
ini:: about expense. I tell you, Harry, you must stop it. It's killins: voii. 
Stoi> writing, this minute, {takes away pen, ink, and paper) There, 
now, take your pipe, light it, and watch me paralyze that fire: we'll 
liave a conple of boiled egiiS, and some toast, in abolit four minutes. 

Harry {lights pipe). But, Jack, you don't appear to thiid< of anvtlnng. 
Wliere is the money to come from, to pay for all tliis? I haven't"a sliill- 
ing. and I know you're just as Itadly ofTas myself. 

Jack. Jnst as badly off, am I? Look at that, {pnlls out some coins 
from his pocket, and throws ihem on the table) Just as bad, eh? Ha, 
ha, ha! Why, Harry, we're wealthy. I pawned mv watcli to-dav, and 
raised ten dollars on it. Not the first time I've done it. Either. 
That old watch has been inside more Jewish savings banks, than any 
other that [ know of. No, Hal: just you be quiet and we'll have some 
supper; then to-morrow, we can go on a big spree, all over the city. 
Old Snaggs may wait for liis rent, and we'll enjoy ourselves wliile we 
can. 

Harry. Well, you are a droll chap. Jack. I believe, only for you, I'd 
go to the dogs, completely. 

Jack. Oh, you'll see better days vet. Something tells me that vou'll 
be wealtliy, Harry, before long. And then, boiled eggs and toast," fare- 
well ! 

Harry {laughing). Nonsense, Jack. I'll never get a pennv, except 
.j«hat I earn, and .that'll -never make nienvo4tlthv.- ,- '• • - ' ' ' 



^ FOR MYSrLP ALONE. 

So we need liave no fears on that head. Now, I propose to carry on the 
ilhisiou lor a few weeks, just to see what sort of a man my uiicl^is, for, 
of course, he'll iie around to see me with all sail set as soon as he hears 
I'm worth $10,000 per anuuu). You mustn't mind him, Jack; I hear 
he's eccentric, and that he always lias some scheme on hand to make 
money, and will, ol course, talk nothing to you but finance from 
morning to night; but try and put up with it uwliile, and we'll have lots 
of fun. 

Jack. Don't you think it would be well to let old Belcher into the 
secret. It would save difficulty when you do wish to assume your 
rights. 

^Harry. I was thinking about that, and I believe you are riglit. We 
will tell the old fellow all about it the first opportunity we get. (a knock 
at the door.) 

Jack. I'll bet you it's that grocer for his infernal box,— and— oh, 
Herod Agrippa ! 

Harry. What's up? 

Jack, Those eggs and the coflee have been boiling away all tlii.s 
time. Tiie eggs will be like boarding iiouse doughnuts, and the 
coflee {knockmg continued. ) 

Harry. Oii, bother the eggs and coffee; if somebody doesn't open 
the tloor there won't be any door to open soon. If it's the grocer, tire 
him down stairs. (Jack opens door.) 

Enter Mr. Belcher. 

Jack. Oh, my dear Mr. Belcher, excuse me for keeping you waiting; 
we were so busj* 

Bel. Certumly, my dear sir. Certainly, the only inconvenience I suf- 
fered w.'is the loss of a little time; but as Shakespeare says 

Jack. Ye?, yes: but what is the object of this second visit? 

Bel. Well, you see. as I was ** keeping the even tenor of my way" 
towanl Chancery Buildings— I sometimes quote from other poets, you 
know, Mr. Duviil. That little phrase is from Gray's Eleg\'. The im- 
mortal Gray, Mr. Duval 

Jack. Yes. As you were going toward Chancery Buildings you 

Bel. Yes. I was going along, ruminating on the depravity of human 
nature, and 

Jack. And the necessity of more lunatic asylums. 

Bel. Eh? Oh, ah, yes; capital, capital joke, ha, ha, ha! Very 
good indeed. Yes. Well, I met my old and esteemed friend, Mr. Silas 
Blevins. your respected uncle, Mr. Duval, and I said to myself. '-Oh, 
my prophetic soul, his uncle." Ha. ha! See tl>e point, Mr. Duval! 
More Shakespeare. Oh, I fairly revel in Shakespeare. 

Jack. So I am beginning to believe. 

Bel. Of course you are ; they all do when they know me. Well, I 
^nys to Blevins, "Blevins, my boy, you know yoiing Duval, your nep- 
hew?" Blevins said he did. " Well," says I. '" he's fallen heir to an 
• estiite worth $10,000 a year." " Heavens ! " says Blevins. Excuse the 
little rhyme, Mr. Duval. You saw the point?' I think it was i)retty 
good. 'Heavens" says Blevins. Ha! ha! Well, nothing would do 
him, the dear, kind-hearted chap, but to come around and see you, to see 
■f he couhl be of any service to you at all. 

Jack. Yes? how kind ! They generally are when a man's worth his 
len thP'Asand a year. 

Bf^ fla. ha, "ha ! how droll you are. Oh, by Jove, you're a droll 



FOR MYSELF ALONE. . 7 

l;oy; yon oui;ljt to go on Ihestage. IIii, lia, hu! Oh, you li be the death 
ofiiie, if you s:iy such fuimy iJiings. 

Jack. 1^ iiuuy 1 welJ, I'll be blovved. However, Mr. Belclier, wiiere is 
lijy inicle? 

"Bel,. All, y<«; I forgot all about liiiu, iK)or fellow. We were couiing 
ill at Ihe sireet door, wlieu a ferocious bulldog beiouging, 1 presume, to 
some of tlie oilier lodgers, rushed at us, lUid I had only lime to get up 
the stairs: but poor Bieviiis, who is much stouter than I auL had lo 
cliiub up on tJjejJorcli. He's there now, au<l the dog's watching from 
l)elow, ready to devour hiiu. I can tell you he's iu a most uiipjeasajit 
position. 

Jack. Well, by Jove, if this doesn't beat anything I ever lieapil. Tliat 
iDu^it be Neivtou's bulldog, {lo Haeey) that Jie got ready for the next 
viriit of his niotlier-in-law. 

Haruv. Yes, I supi)ose it is. 

Jack. Weli, Harry, \ou go down ami liberate the old gentleman, will 
you? 

Haury. Yes, certainly, {goes up.) 

Bkl. {io Jack). I tiiought this 3"0ung man's name was Jack, and I 
hear yoti call hlni llany. 

Jack. Oh, yes: tliat reniindfi nie, and while he goes to attend to the 
old gent and the bulldog, I'll tell you a si^cret. IKvit Hakey. c. d. 

L)EL. Oh. indeed. I'm passionately fond of secrets, Shakcsi-x^are :.nd 
secrets are luy liobbies. 

Jack. But remember, this is a genuine secret, and you must promise 
to keep il, 

BiiL- I pledge my profe.«:sional wojxl of lienor. 

Jack (aside). That won't be worth much, {aloud) Very well. The 
fact is, Mr. Belcher, I am fwt Harry Duval. 

Bel. You are not? Then wJio are you ? 

Jack. I am Jack Byron, and the genlknian you wei-e introduced to 
as Jack Byron, is Harry Duval. 

Bel. Caesar! says Belclier. That's not quite as good as "Heavens 
says Blevliis." Weil, you are a droll boy. 

Jack. Yes, but we're doing it for a joke, and we intend to keep it up 
for a wlille, and you must not whisper il to anyl)ody. 

Bel. O, no. certainly not. I'll be as silent as an oyster. I suppose 
you'll lix things riglit at tlie last moment, and astonish everybody? 

Jack, Precisely so. 

BEf^ Oh. you are droll chaps. Fd like to introduce you to a friend of 
mine at Brighton. He doats on Milton and Longfellow— fairly adores 
them. 

Jack. Thank you; but I hear Harry and his uncle ; so be careful and 
keep up the illusion. 

Enter Habby and Mr. Blevins, c. d. 

Bel. Ah. my dear Blevlnis, did you escape the cruel fangs of that vo- 
racious animai? Say you <li<l, Blevins. and relieve my anxiety. 

Blev. Oh, hang you and your anxiety. Belcher, you're a nice man, 
aren't you, to go oft' an<l leave me in such an infernal position for fully 
fifteen niinutes? There was tliat bulldog ugh! the thought of him 
makes me sliu<lder — just watching me, and licking his chops now and 
tlien, as if in anticipation of the multon-chop he was gohig to have off 
me. 

BEii. Ha, ha. ha! Oh. what a capita! joke. He, he, he! But you're 
di(tll chap. Blevins. (poking /tim iu Oie ribs) Just think, a mutton-chop 
ollBlevins! Flo, ho, ho, ho! 



8 I OR MYSELF ALONE. 

Blev. Oh, sliiit up your confoundetl mouth. Shut up, I tell yon. 
Don't say another woicl lo me. I'm mad enouijh to eat you. only for 
the i^as in you. Your name suiis you lirsit-niie, lielcii^r: lor you do 
nolhint;" l)Ut belcli iras and 6ljakes))eare Irom one d.iy's «-nd Lo nnoiiier. 

Bkl, Ho, ho, ho! OI», deur me, 1 shidl certainly die. Anoliier of 
Ills jokes. Belci)er! Oil. iy Jove, it's too good. Capital, capital. 
Blevins. you are a born Innnorist. 

Blev. Yes, and you are a born ass. You 

Hakky. Oh, conM% come, uenilemen, enough of this: let us have 
peace. If yon will fiuhl, ^vhy, uo out inio Ihe hall mere, and you can 
have it out. and I'll uet Newton's buli<lo;j: to see fair pl.iy. 

Blev. and Bel. (togefher). Oh, no. no: not the hulldoir. 

Blev. That bulldog! oh, don't speak of bim. Is he auj'where near 
this room ? 

Hakry. Yes, he's just out in the hall. Shall I ask him to come iii ? 

Blev. Oh, heavens! no. 

Harry. Well, then, keep quiet, or he'll come in without askini?. 

Bel. (/o Jack). Mr. Duvid, suice you have now heard all I can tell 
you I think 1 shidl take my leave, entrusting you to the fatherly care 
of my dear friend Blevins. 

Jack. Well, Mr. Belcher, good-day. Many thanks for your kindness. 

Bel. Not at all, not at all. I am always under your command. 

Jack. Oh, by the way, Mr. Belcher, be so kind as lo rui» into the 
lillle p:iwn-shop around the corner there, and redeem my watch, will 
you? You can chalk it down in my bill, you know. 

Bel. Sir, I would not lower my standing- by entering a pawn-shop, 
but 1 will send one of my clerks for the watch, and have it brought to 
you. 

Jack. Thanks, Belcher, thanks. Here's the ticket, {exil Belcher, c. 
D.) So, his royal highness wouldn't lower his standing by going in to a 
pawn-3hoi>. Well, I consider myself as good a man as he is, and I've 
lowereil my standing n)any a time to go in there, and lowered it con- 
siderably too, for the doorway is only ai)0ut five feet high, and I'm pretty 
tall. 

Blev. My dear sir?, excuse me, but which of you is my nephew? I 
quite forgot for the moment that I came liere to congratulate you on your 
good fortune. 

Jack. Oh, I am your precious nephew, uncle Blevins. You may con- 
gratulate nje. {aside) I don't congratulate myself. 

Blev. I do, I do, my dear l)oy. I do. {sJiaking his Jtand) And now I 
hope you will never S[)eak any more of pawn-shops. You can connnand 
me and my purse for any wants which you may have until you enter 
upon your new career. 

Jack. Oh, nnny thanks, dear uncle, many tin jd\S: but I expoct Mr. 
Belcher wiil advance me sufficient for my ])r<'S(Mit Jieeds. But what has 
come over a'ou? Have you become president of u bank lateh ? 

Blev. Why? 

Jai'k. Oh. nothing, only you are so much freer with your money than 
you u.-:ed to l)e. 

Blev. Than I us<vl to be! Why. what in the world do you mean? 

Jack, ()h. yon don't reniembpr jny w!-iii»)L:' to you when I w 'S rather 
down at the heels and out at the elbows, asking you for a little assist- 
ance ? 

Blev. No, I certainly do not. 

Jack. You don't ? Why, I wrote no less than three times, but I never 
received an answer. 

Blev. AVell, Harry, I never received one of tliose letters. 



FOB MYSELF ALONE. 9 

Jack. Yon didn't? {sneerinrjly.) 

Blkv. No. J u'ive you my word of honor. 

Jack {snrcaaliadl!/). IL wms quiu; naiuiul you slioukln't receive any of 
tlie leuers, tiiti prt't^t'iit j)osi;d tii-rvice is so dclcclive, you know. 

IjLev. iJof/fid'/j). Yes. c*'ri:dniy, very (h'tVci.ivc. 
. Ja(;k. Ycs. (tf course; i iievrr lliouuliL of liiat. {aside) Oh, but he 
bi^ats thc^old hoy hMns«-tf.;(/'f/o/'.«f) Unci*', let me iiresejiL to you my in- 
tiin:rt'«Mrlie»Hl/ J:K'k Byroti.' (/>/.v'.sr///.s^ llAitHY.) 
;H-Aj{nv. I am ii;i|>i>y to MjfL't you, Mf. Ijlevins; 

JiLJiV.. Ijcliulited, l"ui sure, to Miovy Mr. Bu'ou. 

J.ACK. That's ri^lit. Now. uncle. 1 want you to accept nn invitation 
to speml ;i few weeksat Gleumore, as soon as I ,:;et installed there, and 
you must l>rini;iiiy aunt and your daui;iiter aion^- wiih you. for 1 sliall 
he lonely in tiiat :iTeat mansion, unless 1 njanaue to surround myself 
witli uuesls; and 1 wish you to he amonii' the tirst. 

Blev. We shall accept, your invitation with i^reat pleasure; hut I must 
ask you 10 include my ward, Annie iMowbray, as well ; she's my lute 
sister's only child, and is under my i)roteclion. 

Harry {aside). The protection which a wolf would give a lamb. 

Jack. I shall lie most happy to see your niece. 

Blev. I'll bring Annie along then, as I don't like to leave her alone 
at our house. 

Jack. Certainly: it would bo wroni>- to leave iier alone. 

Blkv. Well, thal's settled. 1 know you'll like her— yon can't help it. 
She's a perfect anirel— so kind, so uentle, and as pretty as a picture. 

Jack. Oh, that settles it for sure. We'll he deliglited to ii:;ve her 
make one of the party, {aside to Harry) If she's kimi, i:ent!f-. and pret- 
ty, she'll ho quite a refreshing contrast to the old man am) ms family, 1 
fancy, {to Blevins) Wlien may I expect you ? 

Blev. Well, yon may expect us down by the end of next week, if you 
will l>e ready for us so soon. 

Jack. .Ml rmht. Now let us |>nrt for the time: I want to 2:0 out and 
make arramrement.'* to «ret myself to:ruod out a little m'>re rospoctal>ly. 

Harry. Yes. hut before we 1:0 let us drink success to the new master 
of Glnnniore. {fake< n hoWe of wive from tahle and iincorls it) Yon 
must excuse our scanty stock of crockery and ulas'sware, Mr. Blovins, 
but we keep a sort of Bohemian bachelor's hall, just at present, {takes a 
gohlet from the fahle. and ha)ids it to Blevins) There, yon iiave the 
only iihiss we possess. Harry, you can do with a teacup, and this inar- 
m;ii::cle pot will answer very nicely f . r me. {potrrs out irine.) 

Blev. Well, here's your very good healih, nephew Hurry, wishirjg you 
every success. 

Jack. Thanks. Here's to myself and to both of you. {thep stand with 
glasses raised.) 

QUICK CURTAIN. 



10 FOR MYSELF ALONE. 



ACT II. 

SCENE. ai'ge, Jiandsomely furnished room at Glenmore. Large 

doo . . ^lat c, looking out on jnazzd and picturesque landscaj)e 
hey v:.'- Windows opening to the floor, r. and l. of door. Doors 
at t. i E. and l. 2 e. Curtain rises discovering Jack Byron 
walking about, smoking a cigarette, and examining the furni- 
ture, etc. 

Jack. Well, this is spendid, I must say. Hurry has fallen into the 
very am "? good luck ihis time. I told him so. I knew something 
good was going to happen, for J dreamed tlie otlier night that a wealthy 
relative of mine out in Australia had died and left nie :'ll his property. 
My dre. nj3 all develop into reality, but in ihe case of n>oney or legacies 
I becom ^ .uebody else, or somebody else becomes me for the occasion; 
but if 1 "earn happens to call for a little misfortune, I have to face 
tl:e music i.. person. Well, perha))s I was born on Friday, and if so, 
according to the popular superstition, of course I iim doomed to ill-luck. 
Just thin.: o? me playing the master here, and Harry woiking as my 
])rivate s^'.:?tary ! Oh, it's rich, it's rich ! But I shall soon get tired of 
it if I hi "O .0 receive all the visitors, and visit about among my aristo- 
cratic n- i l)ors, while lie sits around and smokes and makes love to 
Annie M:^.i:ray. I wish he wouldn't take so much to her. but I must 
1)8 resiiinz:.!, I suppose, on that question. I wish I was l»ack in my old 
dingy roc it with my old coat, and my meerschaum pipe and beer. Oh, 
ueur! 

Unier Harry, c. d. 

Hallo, Harry I How do you feel this morning 

Harry. Oh, -capital! I've been out for a long walk in the grounds 
this morning. 

Jack. Ah. indeed; and how did Miss Mowbray enjoy the walk? 

Harry, kiss Mowbray ! 

Jack. Yes; you were walking around the grounds with her this morn- 
ing. - 

Harr? \ did not say so. 

Jack. J , you didn't, at least not in so many words; but any man 
who is e*..>.w*ed by nature with two eyes and the reguUition amount of 
commoi- ggnse, could see how matters are going. But I don't blame 
you, Hal; she's bright and pretty, and I think she's as good as she is 
pretty. Tou are clever and handsome, and though you m.iy not be the 
porfect i'leal man. j^et you're pretty good for this wicked world, and 
altogethPi* I think you will do very nicely for eacli other. How does 
she rec< : "2 your attentions? 

HARRi. .1 have not said anylliino: definite yet, but my heart tells me 
there is . pe, and I do not think it is deceiving me. 

Jack, -.'ell, old fellow, you have my blessing. And now, to change 
the subjv::t, how long is this to last, and when am I to become plain 
Jack By.:n again ? 

Harb-. Oh, very soon, old boy. Just have a little ])atience. and every 
thing wi. come out beautifully. How are you progressing with your 
supposec. .iiicle? 

Jack, kuch as usual. He has a tine lot of schemes in bis bend, 



FOR MYSELF ALONE. 11 

amoH;i: Ihf m the managemont and sale of the stock of a valuable silver 
mine supposed to exist somewhere in Pa,tai;onia or some other outUind- 
ish hole, and he has beeu ^oitii;- aUmt liie "city for the last two or three 
days, organizinj^a board of directors and ji,etLin<? subscriptions for stock. 
Now J>e comes to me with a list of sliareliolders, aiiti wants me to put a 
couple of thousand into the fund. 

Harry. You had better comply with his request. 

Jack. What! You'll lose every dollar of it. The whole scheme is a 
l»ase fraud from beginniiiij;- to end. I didn't see a single name of any 
etandiuii; in the city among tlie stockholders. 

Harry. Oh, but you needn't give him the money; just promise him a 
check in a few days. I am positive he is up to some deviltry, and this 
silver mine is just a ruse to gain money for some other purpose. 

Jack. Very well, I'll humor him, and if he's playing fast and loose 
with us we'll make him sutler. But 

Enter Servant, l. d. 

Servant. Excuse me, Mr. Duval, but the rector, Mr. Holiwell, wishes 
to speak to you. 
Jack. Very well, I will be with him in a moment, {exit Servant, l.d.) 

Come to solicit my subscription to a new organ, or something or other, 
without doubt. Harry, I have had no less than four visitors this 
morning already, soliciting aid for charitable institutions, and it isn't 
yet eleven o'clock. 

Harry. Oh, well, never mind it, Jack; try and stand it a little while 
longer. Just do whatever the rector asks you, even if you have to buy 
the new organ yourself. 

Jack. With your money ? 

Harry {laughing). Exactly. \^Exit Jack. Harry seats himself i.. 

Harry. All, well, here I am, the master of Glenmore, and of $10,000 
a year, with every thing to make a man happy as far as worldly wealth 
g()es. and yet I am surrounded by scheming relatives who seek to lake 
the verv l)read out of my mouth, which has dropped in so opportunelj\ 
Great Caesar ! I don't know what would have become of me in a week or 
so longer; not a cent to call my own, too ill to work, and poor Jack 
pawning everything he possessed to provide little luxuries for me. I 
don't know what r<l have done, only for Jack. I verily believe he'd 
pawn the shirt oflf his back, to raise mon-^y for me, if I needed it. 
Well, well ! {lights a cigarette) This farce will" soon be over, and then 
lean take my own, and I'll see that Jack gets his share of it. Then 
there's Annie. Oh, dear me ! I'm afraid I'm really in love this time. 

Enter Annie Mowbray, r. d., unperceived by Harry, who sits with his 
eyes turned up toward the ceiling, \catc?iing the svioke of his 
cigarette. 

Yes, yes, I am really very badly struck, and no mistake. 

Annie. I beg your pardon, Mr. Byron. Did you say some one had 
struck you ? 

Harry {rising confused). Yes— a— no— well, that is— j'es— I am in- 
deed badly struck. 

Annie. Oh, I'm so sorry: I hope you are not hurt. 

Harry. Oh, no, not at all. In fact it's quite a pleasure to be struck 
this way. No pain at all, I assure you. But, excuse me, wont you sit 
down? 



12 FOR MYSELF ALONE. 

Annie Oh, no, tluiiiks. I urn ojily disturbing what appears to be a 
very ple;is:iiit train of ihouirht. 

Uakuv. Ah, yec?, llitn were iiKieod plewsnnt thouiihts, but you have 
not iinvrrupled tliejii; you have eleareti the obstudts i'rum the way, and 
they flow on now, more pleasantly than «n'er. 

Annie. You have become quite poetical, 

Harry. Uli, Miss MA>\vbr;iy. do ;iiot :pl;iy with ijiy feelitiU'S. Vmt .ijrant 
sine one t.ivor.. Will you sit ijowu for u tevv niomeiits? I iiave soiiie- 
%iiii:z lo say to you. 

'' Anmk. Very well; but don't be .lon^. I was showiui;- the coak- how 
to nuilie soiije-pickles, antj i niust tio and iobk alter them. 1 am afraid 
she is not uohii;- them ri.ulit. {sit.s noa-n on sofa r.) 

Harry ^rUiiwj). Uli, i)otl»er tlie pickles! li lliey are lo ( lient me out 
of your pleasant con)pany, i shall never want to eul one a-ain as lung 
as I live. 

Annie. Ob, I am sorry to hear you say tliat. for I really want you to 
try some of these. I am sure they will be nice, if my directions are fol- 
lowed. 

Harry {crossing to her). Miss Mowbray, may I sit down beside you ? 

Annie. Well, I see no objections, provided you behave yourself. {Xlx^- 
K,Y sits on sofa.) 

Harry. Miss Mowbray, are you aware that for the last few minutes 
you have been pulling out nn- heart strings one l>y one ? 

Annie (hoi-rlfied). Oh, dear! no, 1 didn't know I was doing that. 
Oh, Fm very sorrjf. 

Harry. Yes. you liave caused me great pain. Can you not uiuhu*- 
stand why I spoke to yoti as 1 did— can you not understand my feelin-s 
toward you ? Can yoii not see that I - that I— love you ? {aside) Tnere, 
it's out now, and I leel relieved. 

Annie. Oh, Mr. Byron ! (rises, and turns to go up.) 

Harry {foJlomng her). No. no, do not go away. {]>leadingly^ Do not 
leave me. miserable and without hope. Miss Mowbray ! Annie! lam 
poor, I have not a cent in the world to call my own, except what I earn 
by my own unaided efforts: but I offer you the jmre love of an lionest 
man,'who never wilfully did anyone an injury, aiid who will continue 
to love you till the day of his de'ath. Annie, 1 will work for you night 
and day. till I |>rovi.le a comfortable home for you, if you will but give 
me leave to hope that some day you will be mine. 

Annie. Mr. Byron, 1 entertain* urea t esteem for you. I have always 
felt that if I did marry any one, I should like him to be like you. 

Harry. Yes, yes! 

Annie. Well, do you think if I gave you my love, you would be as 
happy as you imagine? 

Harry. Oh, Annie, do yon doubt it? 

Annie. Do you not think I should be a burden on your hands? If 
you were earning a small snlary of perhaps ten or twelve dollars a week, 
and out of that had to support a wife, you would soon lind out what a 
burden I would l)e to you. 

Harry {turning despairinghj and walking toward left centre). 
Ah ! I see how it is. You scorn my love. You dread the ])Overty, the 
hardship, the suflFering of the life you would have to lead with me. 
You feel that I could not surround you with the comforts to which you 
liave been accustomed, and you savin y(»ur heart, '-Tlieloveof ihis 
man, be it ever so pure, is put a ]>oor return for the los.s of riches :irul 
ease." Annie, you are riirht. I was askini; too much : I was too selfish. 
It breaks my heart to give you up. but it must be, and I can on4y ask 
your forgiveness for the annoyance I have caused you. 



FOR MYSELF ALONfi. 13 

k^mi^{turning andgoing towards him). Mr. Byron, you do me ajj in- 
justice. How can you lliink nie so niercenwry or so cold? 11" my love 
wi.l ni.ike you ;id h.ippy ndvour love m.ikes me, L;ike it, it is yours. 

Harry (seizinj her liamh). Annie, do you nieun it? Ob, no, my ears 
have deceivevi me; it cannot oe. 

■Aknie. YeSjiLGaii: I lueun wlmt I Said. 

] 1 VKiiv. llenveu bU-ss \ on, my darlin-- 1 Youiare leuvin'jc ]iome,. friends, 
weulih, and all llie:i;om"iV)rU of :life,,autrcup^liu^, your lot in A¥iih IHat 
of a man wiihout inuMev, influence or position, - one: wl»(> iiii^ his own 
w;iy to make in ilie world, and whose iu^st recomniei^dation is that he 
l.ov.'S^you, You sTmll never have occ sion to reivret it. {kiiotes h&i\ 
Tiey come down stage and seat themselves on sofa r., conversing.) 

Enter, c. d. f., Mr. Blevins. He stands a moment, astonished, and 
then. wiVi a nitdignaiit expression, comes slowly down stage and 
stands listening near Annie and Harry, who do not 7iotice him. 

ITarrt. Oh, we shall be very happy, my darling. Do you not think 
so? 

BiiEV. (aside). Not if I can lielp it. 

Annie {to Harry). Oh, yes, I am sure we shall. 

Uaerv. Of course there will l)e no luxury; nolhinsc but a little cot- 
taiiv, perhaps, or even a very plain room, in some back street in the 
city: l)ut ili.it won't matter, will it? 

Annie. Oh, certainly not. With you. Jack, I could face any hard- 
ship. 

Blev. {mho has been in n great rane during this — alond^. Oh. you 
could, could you. nnss? {Wxhwy and Annie l-ise. confn.^ed) What does 
all this mean? {to Harry) whit do you me:in. sir. by talking- of cottaues 
and back streets in ilu' city. :ind )ia"|>piness? {to Annies And you, what 
do you mean bv expressiirj; the opinion that as lonuj as you had Jack, 
you" could face all sons of liardships, and so forth ? What does it al) 
mean, I sa\ ? 

Harry. Well. Mr. Bh^vins, yon Inve taken ns rather by surprise; but 
it means that I love your niece, and your niece loves me. I intend to 
marry her at the earliest oi)i)orlunity. 

Picture. 

c. Annie. 
R. c. Harry. l. c. Bletiks. 

ClTRTAIir. 



Acrm. 

SCENE.— /Same as Act II. A small sized cahinet desk stands at L. 
As curtain rtses Jennie Blevins is discovered seated at small table, 
R. c, her head leaning on her hand, apparodly lost in thought. 

Jennie (solus). Well, the impudence and brass of that horrid Annie, 
beats anything I ever saw. Only to think of the way she carried on 




14 FOR MYSELF ALONE. 

wiLlj that Mr. Byroi; day liefore yesterday. U,i;h ! it makes ine shudder. 
And lie actually had his arm around her. Wouldn't I like to catcli the 
inau who woukl dare to put his arm around tne. OI», weh, no one has 
ever tried it yet. Tiiey all seem to take to Annie so mucli, although I'm 
as good looking as she any day. At any rate, tl)ere's one good i»oint 
about this fondness of hers for Mr. Byron. It loaves me free to pay 
all my attention to cousin Harry, and niio knows but lie may take a 

fancy to me, and then Ah, I hear his step on tlie piazza. Now to 

action. {_sJie screams loudli/ twice, and pretends tofaiiiL) 

Just then, enter, c. D., Major Twitter, and she falls into his arms. 

Major. Oh, dear me! What's all this? Why, I declare, if it isn't 
Miss Blevins! Miss Blevins, my dear girl, what is tlie matter? Why, 
I declare she's fainted. Oh, dear me, this will never do. Such a scene, 
and I do detest scenes. Ah, I'll just lay lier on the sofa, and run for 
some water. Heaven grant some oilier poor unlucky mortal finds lier 
before I have time to get back, (/wy^s Jennie down on sofa and exit r.d.) 

Enter at same time, c. d., Mr. Caverton. 

€av. All, by Jove, a young lady, eli ? (adjusts his ei/egluss) No, not 
exactly young, but medium— sort of betwixt and between. (Jennie rises 
as if just recovering from a faint.) 

Jennie. Oh, sir, who are you? 

Cav. I— oil, I'm George Caverton — George Caverton, B. A. graduate 
of Harvard. 

Jennie {aside), A Harvard man — oli, my ! 

Enter, c. d., Jack Byron. 

Jack. Ah, here you are, eli ? I've been looking for you everywhere, 
Caverton ; but I see you're in charming society. Jennie, tliis is Mr. 
Caverton, a friend of your father— down hereon a visit at his invita- 
tion. Mr. Caverton, allow me to introduce Miss Blevins. 

Cav. Aw ! charmed, I'm sure. Miss Blevins, may I have the pleasure 
of escorting you to the summer house in the garden ? I believe tlie other 
ladies are there. 

Jennie. Oh, certainly. [Exeunt, c. d., armiyiarm. 

Enter y hurriedly,, e. d., Major Twitter, with a pail in his hand. 

Jack. Why, Major, what's the matter? What are you going to do? 

Major. Oh, never mind ; I'll bring her to in a minute. Soap-suds, 
my dear boy — soap-suds are the greatest thing in the world for a lady in 
a swoon. Soap-suds, sir, is a sublime invention. I'll fetch her around 
in a second, Mr. Duval. 

Jack. But. Major, what do you mean ? 

Major. Mean ? why, the young lady, of course. Miss Blevins 

Jack. Has just gone out into the garden with Mr. Caverton. 

Major {dropjiing pail). Gone out witli Mr. Caverton ! What, that 
la-de-dah chap, with the eyeglass? 

Jack (laughing). Yes, precisely so. 

Major. Well, I'll be— No I won't. There's no use, my boy: we old 
chaps are out of the ring now and have no chance with the girls. But 
never niiud, come out and have a cigar on the piazza. [Elxeunt, c.d. 

Enter, r. d., Mr. Blevins. 



FOR MYSELF ALONE. 15 

' Blev. oil, dear me ! I'm quite exhausted. I have so many (.lifl'ereut 
schemes in my lieud I don't know what to do tirst. {t<tkes a chair) Let 
me see. Ali, yes. First of all, I've got Caverion and Twitter down here. 
They are both wealthy, and l>oth capital opportunities for Jennie. True, 
old Twitter's on the shady side of fifty, but he's got the money, and 
that's all I want. Jennie has not made much progress with her cousin 
Harry. That boy has no more soul or sentiment about him than a log ; 
so she must tackle these two. I must have that girl married to a weal- 
thy man, or I'm a ruined man. Then there's Annie — that's another 
little matter I must attend to. What the deuce does she mean by taking 
to that idiot, Byron? I never liked that fellow. I called him an idiot 
just now, but I'll guarantee he's sharper than he looks. I'll have to see 
al)out Annie. But at any rate, if I get Jennie married to Caverton or 
Twitter, it will be one good move. Then if I can get that three thous- 
and dollars from Harry to invest in the Patagonia Mining Company — 
ha, ha, ha ! That's a good scheme, if it works. With thai, three thous- 
and and the other moneys I have in trust for various unsuspecting fools 
I can clear ofl' to California, or some other place, and make a fortune. 
Everything is in my favor, and if I play my cards cautiously, the game 
is surely mine. 

Enter Harry, c. d. Comes down towards Blevins. 

Harry. Good-afternoon, Mr. Blevins. 

Blev. {coldly). Good-afternoon, Mr. Byron. I have a little remark 
or two to make to you, sir. 

Harry. Oh, indeed ! I was about to say the same to you, but as you 
anticipate me, pray proceed, {sits down.) 

Blev. What I have to say, sir, relates to Miss Mowbray, my niece. 
Your conduct last evening, sir 

Harry. Oh, that will do, Mr Blevins. We can liear all that another 
time. What I have to say to you, sir. relates lo t)ie same subj(^ct — a 
charming subject, by the way — but is of infinitely more importance 

Blev. But, sir, I will have my say out. 

Harry. Excuse me, Mr. Blevins, but I do not wish to liear it. 

Blev. Sir. your impertinence is beyond all 

Harry. Nevermind my impertinence, but just listen to a few remarks, 
coolly and quietly; they are of vital importance to you. As Mr. Duval's 
private secretary, I feel it my duty to look after his interests, to the best 
of my ability. Am I not right in doing so? 

Blev. Yes, you are. 

Harby. Very well, sir. Acting upon this impression, I have studied 
you pretty closely of late. 

Blev. Me ! 

Harry. Yes, you. Now, don't get excited, Mr. Blevins. I have 
studied you, I repeat, and I believe you are playing a false game with 
your nephew. 

Blev. {rising). Mr, Byron, this is 

Harry {inteiruptim/ him). Sit down, Mr. Blevins. I assure you, you 
liad better listen quietly to what I have to say. (Blevins sits again.) 

Harry. Now, Mr. BJevins, to begin with, you have been endeavoring 
to induce Mr. Duval, to invest three thousand dollars in a concern 
which you are pleased to style the Patagonia Mining Company. 

Blev. And which will be a great success. 

Harry. Not at all, sir. I have made inquiries in the city, and find 
that there is no such company in existence, as the one just men- 
tioned. 



16 FOB MYSELF ALONK. 

Blev. Because it luis not yet been incorponited. It will^be, befoM 
long, Jind then you will see 

riARiiY. Mr. Bltn-ius, you pre only wiistiii:;- time. You c;imiot inuke a 
fool of me us you have oi oLhers. I say now. onct.' and lor nil. mere is 
nol^ never was, and never will lie. at least as far as you are concerne»l, 
an\ siicii cur|)oraLioii as llie r.iLa-oiii.iMinii)^- Cttinpiiiv; ;vii>i war 
*%[R)(e prosJMi'cUls isiiiie aiid u swinuie froai l)v;-:iutnii_; lo uitl. 
■ Blkv. Sir, Lliis is'ivally ujore ihun 

iUpRV. AUownn'. iry(»t; ideate.. You ;;r.^ cixlfavorinti; to swindle 
your neplitfsv, wluj i,-, peruaps. railier c-a'^Uit's iis lo las jHoih-riy. . liiit 
you iMusl remeniber LiuiL 1 .nn w.-iL-iiinj,- Ins' iiiunsis. ana 1 h,.ve suc- 
ceeded in unmaskinii- vour whole ploL 1 know just what \ou are af- 
ter. Would you lilie lue lo expose ilie wiioie all-or? 

Blkv. I desire vou to leave ilie room. sir. 

ll.\RRV {risiH'/i Very well, sir; I will -o now and inform Mr. Duval of 
your lilile plans' for his welfare, and ihen the constable— scene iu court 
— disijjrace. How does that strike :wou ? i,goe.s iqj.) 

Blev. {greaVy affected). Oh. Mr. Byron, come buck. Do not talk like 
that: and for Heaven's sake tion't led my nephew. 

Harry {returmng). Ah, ha! you are he^iimin-- to ackuow!ed.u;e 

Blev. No. no, no. I am not tryin^• to defmud him; 1 anj only 

Harry. Yes I understand. N()W, Mr. Blevins, I want to laii; of an- 
other matter with you. Your niece, Miss Mowbray 

Blev. Yes. sir: what of her? 

Harry. As I told you last night, I wish to marry her, with your con- 
sent. 

Blev. Which you shall never have, sir! 

Haruy. One moment. Mr. Blevins. Yon are very crafty, but I see 
your little i^ann*. You know that she is to come into possession t»f an 
estate of ten thousand dollars upon her marriiire, provided Ih :t mar- 
riage is contracted with your consent. Should she marry airainst your 
will, she forfeits it. and it slips inio your cii)aciou3 pocket. That is 
your rea.son for wiihholdini;" yoiu' consent, is it not? 

Blev. You appear to be remarkably well informed in our family mat- 
ters, sir. Nevertheless, I will never consent to your marriage with my 
niece. 

Harry. And why not. pray? 

Blev. B'or the best of all reasoiis. that you are utterly unworthy of her. 

Harry. Hum! She does not think so. 

Blev. 1 do, and that is sufficient. I now consider this interview at 
an end. 

Harkv. Very well. Mr. Blevins; all I linve to do is to inform Mr. 
Duval of the nice little i)lans for the speedy reduction of his income, l>y 
m«ians of Silver Mining Companies and otjier frauds, {moves totvard the 
door.) 

Blev. Oh, Heavens ! Do not go— do not tell mv nephew nnvthinir. 

Harry. Well, then consent to the marri lue. You see. Mr. Blevins, I 
have you under my thtnnl), as it were, and yon had better get into my 
good unices before I brinu* the pressure to bear down upon you. 

Blev. I do not know what to do ! 

Harry. Well, you'd best m.ake np your mind qtiickly. Do you consent 
to the m irriage, or do yon n^t, ? 

Blev. Oh, I consent -on rompulsinn. But I will have revenge: I'll 
get even with yon for brinuinu' me to this. 

Harry. Oh.'th.at's all riulit. I think, however, tint we will have a 
witness to this affair. {goe.>i to c. d.. ftud cnJU •• Uarrv.") 



FOR MYSELF ALONE. 17 



Enter i c. d., Jack Byron. 

Jack. Well, what is it? 

ILuiKY. Oil. Ml-. Duv.il, I h:ive a piece of *roo(l nows to tell yon. 
Your uncle iiere. ii;»a -iviii iiis coiiaynL Lu my luaiTiage witii liia niece, 
Aiinii-; luiW \ou iiuL. Mr. liie\iiidV 

Blks-. ySiiLen','/). Ve.^;. 

J..CK. i cou-i'aLuL.ic you, iiearlily, Jack. May your union be a happy 
one. 

Harry, Thanks— many tiianl^s. 

Jack. Was ili;iL all yuu w;.nu(l of me, Jack? 

Harry. YfS. only lu leil you thai. 

J^cK. Tnen I'il ue otfagitiu; ine ladies are waiting for me. 

iKcCi, c. D. 

Harry. Now, Mr. Bievins, everytliitig luns smooll)ly, and 1 am sure 
we snail get along very niceJy, nu\v UiuL muLuul contiaence lias been es- 
lattlislied" between us, eh? 

Blev. {ahorliy). Oh. 1 suppose so. (Harry goes to cabinet desk, im- 
lovks it, seats himself, and busies himself with thiuys inside it. Blev- 
iNS sit^ ahfttrncte'lif at tnh''e r. c. Jack appears (it c. d.) 

Jack. Oli ! Byron— will you come ihis vv:iy, please, I Imve sometliing 
I wish lo say to you. {to Blevins; Uncle, you will excuse him ? I'll not 
detain him long. 

Blev. Oi), certainly. (Harry goes out c. d., vtvVA Jack, leaving his 
ketis in lock of cabinet.) 

Blev. There's my tirst reverse! and from such a quarter too. I al- 
Avays Ihou-iit that Byron would be in my way. Curst? him ! {looks at 
cabinet) Heavens! He left his keys in ihe lock! Oh, if I only dared 
do it I Such a scheme ! — R{>venue and tlie accomplishment of :ill my de- 
signs at one blow !— But he miirht return. Ah! I am a coward when 
I sliould be brave. Why should I hesitate? I'll doit! {goes cautiouS' 
ly and closes rear door — comes doitm, stops before cabinet desk, seats 
himself opens the door, and examines papers) All I liere is wliat I 
want, {draws ovt a irallet., containing bank notes, and takes them 
froia icnllet one by 0)/e) Tliat's live hmidred— Ihal'sa thousand— fifteen 
hundred I I shall soon liave what I want at this rale. Heaven grant be 
may not return yet. Ah ! 

Entei; c. d., Charlie Fletcher. Blevins 7'ises in great alarm and 

confusion. 

Cttarltf. TTaMo. sir. what are yon np to? 

Blev. \y\\ -wli - wh.it am [ up to? 

Charlie. Yes: thit w is the qu-'Stion T askM. 

Blf.v. AVhy, I'm putfinir these bank notes inlo the desk. 

Charlte. .And to whom do the notes bolonii-? 

Blev. To m<\ of course, {returns mullet to desk.") 

Charlie. Oh! no, not at all-- that's where you have made a slinht 
mist dve which will cause you considerable trouble, {goes to c. d., and 
calls) Harry ! come here. 

Enter Harry, c. d. 

Here is the jrentlp^mnn to wiiom thp. notes l)elong. 

Blev. Wliat, to J.ick Byron? Oh, no. 

Harry. No, not Jack Byron; /am Harry Duval, your nephew, I am 
sorrv to sav. 






13 TOR MYSELF ALONE. 

Blev. Are you Harry Duv;ij? Ali, I S(!e it all now; I have been O.e- 
ceivt^d from livsl Lo last, (^sink.s doirn on a chair r. c.) 

IIauky. No, you have not been deceived: you have siniplj^ been fms- 
traied in carryini;- out your designs ui>on my i»roi»erty. 1 induced Jack 
Byron to ixMSonate me, in order that I might watch your niovemenis, 
and lind out yoiu* true disposition. I have, also, been only too success- 
ful. The events of tliis afternoon were all prearranged— Jack left liis 
keys in the lock on purpose, and I came and called him out; then we 
sent Charlie Fletcher here, as we knew he was a struniier to \ou, to 
watch your movements, and you are detected with the stolen property 
in your liands. * Everything has turned out about as we suspected. Now 
what mercy tio you expect? 

Blev. Oh, Harry don't be hard upon me! 

iJARitv. You were not goiiig to be Imrd on nie : oh. no, not at all!* 
only going to take all the spare cash I had. and swindle me to as great 
an extent as you could, and then leave ine to recover as best 1 might; 
and now you say *-Don t be hard on nie." 

Charlie. Just call the other folks in, and expose the whole villany. 

Blev. {J'xll^ on his knees before Harry). Oh, for God's sake. Harry, 
do not ruin me ] Think of my daughter— iliitd^ of my niece, and be nier- 
ciful. 

Harry. You do not deserve mercy. You have })roved yourself the 
scoundrel I always siispected }0U of beiiig— yet I um <lisposed lo be mer- 
ciful for tlie sake of youi- niece and dangliter. I will i)lace at your dis- 
posal five hundred dollai-s. if/oes to desL; takes out uallet and {/ires 
Blevins a hill, putting the inillet in pochei) Get ready at once and leave 
Glenniore — leave this country, if possible. I wish never to see or hear 
from you again. 

Blev, Oh. thank you. Harry, tliank you. 

Haery. p]nough ! I am not doiiig it for your sake. Come, Charlie, 
let us go and find the hidies. [Evefmt all bid Blevins, c. d. 

Blev. At last ! The blow has fallen at last. lam ruined, con)p!etely 
undone. Oh, what will become of me? 

Enter Jennie, c. d. 

Jennte. Oh, papa, I liave been looking for you. Why, what is the 
matter? 

Blev. Oh, nothing, my child. I am not feeling very well this eve- 
ning. 

Jennie. Well, I liave some news for you. You know Mr. Caverton, 
tlie young Harvard graduate, do you not? 

Blev. Oh. yes; he is a frien<l of mine. What of him? 

Jennie. Well, we went out walking in the garden, and he declared his 
love and offered himself to me, and — and 

Blev. Well? 

Jennie. Well. pnpn. tlie long and short of it is, I accepted him, and 
he will be here directly to ask \our consent to our marriage. Of course 
there is no great difficulty in' the way of his getting that, eh, papa? 
{laugh in fj.) 

Blev. No. my child. But to tell the truth, this is the shortest court- 
ship I ever heard of. Why, the man hasn't known you a day. 

Jennie. That makes no difference, papa. He's (lee])ly in love with 
me, and I think he's a si)lendid fellow; besides, he's very rich, you 
know. 

Blev, Yes, and this comes very opportunely, for I want to see you 
with good prosi)ects of a comfortai)le home before I leave you. 



FOR MYSELF ALONE. 19 

,Jennie. Leave me, papii? 

Blev. Yes; business of gre;it importance calls nie to South America. 
I sliall 1)6 ,i;one some tmie, perhaps, but you sliall hear froin me often, 
and 1 will try to come back as soon as possible, {crosses to l.) 

Enie?' Caverton, c. d., and comes down stage. 

Cav, (to Jennie, not seeing Ble^ins). Ah, my dear Jennie, I liave 
l)een lookinij^ for the old man everywhere, without success. Where can 
he have i>one to? 

Blfjv. Well, sir! and what do you want with the old man ? 

Cav. Oh! I beg pardon, Mr. Blevins -didn't— aw— know you were 
tliere — aw. The fact is, to come to business at once, your charming 
daughter — for she is charming -\our charming daughter and myseii\ 
being mutually smitten l>y Cupid's rosy darts, have come to the conclu- 
sion that hymeneal bliss is the one desideratum of this life, and I am 
liere for t!ie purpose of asking your permission to become your son-in- 
hiw. 

BiiEV. Young man, you are taking a serious stei) now. Many a young 
man before you has done the same thing, and is now wishiiiii,- he hadn't. 
But that is your lookout; and as I have always liked your appearance, 
antl as I think you will be al)le to provide a comfortable home lor my 
daughter, and otherwise contribute to lier happiness, you liave my con- 
sent. 

Cav. Thanks, Mr. Blevins, many thanks. 

Enter, c. d.. Jack Byron, Charlie Fletcher, Major Twitter and 
Harry Dcjval. Jennie and Caverton go across to r. 1 e. and sU 
on lounge. Blevins seats himself h. in deep thought. 

Major. Oh, yes, gentlemen, there were lively times in India. The 
siege of Delhi, the relief of Lucknow, the massacre of Cawnpore — I was 
through it all. England had need of her l»est and bravest then, and I 
am proud to say I was always at hand when wanted. 

Harry. Bravo, Major. (Major goes across stage and enters into con- 
versation with Caverton and Jennie, who rise to meet him.) 

Charlie. By the way. Jack, I have some good news for you— didn't 
get an op|)ortunity to tell you before. 

Jack. Indeed ! Let us have it, l)y all means. 

Charlie. Well, it's about your picture. 

Jack. What ! the one in Grosvenor Gallery ! 

Charlie. Yes; it has been enthusiastically received, Efcnd you may 
expect several ofiers for it very soon. 

Jack. At last! Well, I thiidc it is high time my perseverance and 
hard work were rewarded. 

Charlie. Well. Jack, you and I can go back to the old rooms, and 
continue our daubing; we will leave Harry to his purple and fine linen. 

Harry. Well, you may depend on my being a constant visitor, and I 
shall expect you to reciprocate. 

Enter, c. d., Annie Mowbray. She comes down stage to Harry. 

Annie. Is it true, all that I l)ave lieard about you? 

Harry. What have you heard, my dear? 

Annie. That you are the real master of Glenmore. 

Harry. Quite true. 

Annie. And you are not Jack Byron at all ? 



20 FOR MYSELF ALONJi. 

Harry. No, I'm Harry Duval. 

Jack. Great deal lieiit-r iiuiiie i\\un Jack Byron, eli, Miss Mowbray? 
Anmk. No. I do in)l like it :iiiy heller. » 

Jack. Oil, lliuuli you, ever so uiucIj. 

Annie and IIarht come down f. c. Major. Jennie and Caverton 
tiiund B. hLE.\i^& sits in deeij reJircUon i*. Jack and Cuaulie 
stand at rear. 

Harry. Are you jrlad to learn how I liave deceived you ? 

AiNMK. Gi id in one vviiy, sorry in anollier. Glad l)ecause of your 
good ioriune: sorry Wecause idl my liiile visi»»ns ol prelly collates and 
a quiel peaceful lioine, tree !ron» liie Cares ul a socifly life, with only 
ourselves lo tliiid< of, have l»eeu rudely dispelled. Bull am sure we 
shall be none ihe leeS liup|»y. 

IIarby. We shall l)e hiippier than ever, for I shall be able to surround 
you with those conjfurts tlinl you deserve. Bui, Annie, I have learned 
sonjelh.nir during- my iitlU; incouniio which tills my heart with joy when- 
ever 1 ihink (if it. 1 came lo you ia ihe uuise of a i)(K»r punter, and of- 
fered you an honest man's love, unaccompanird liy uilts of «rold JMid sil- 
ver — you accepted me, not knowin::- to what trials and ])ri\aiions you 
were consiiininir yourself. 1 ih.mk God lh:!l 1 can reward you as you 
deserve, for you have loved me -'For myself aloue." 

CVBTAIN. 



EXPLANATION OF THE STAGE DITvECTIONS. 

The Actor is supposed to face the Audience. 



D. K. c. 



c. D. 



D. L. C. 



». U. E. 



&. 3e. 



/ 



SCENE. 



K. 2e. 

H. 1 E 

/ 
R. 



/ 



7 



/ 



R. C. C. 

AUDISNCn. 



L. u. E. 



\ 



I. 

\ 



L. 3e. 

L. 2 E. 



\ 



L. 1 E. 



L. C. 



c. Cent.c. 

K. Right. 

R. c. r.ight (^entrc. 

R. 1 E. Right 1 irsi Entrance. 

v.. 2 E. r.i -ht Second Lntiuuce. 

11. 3 E. Fifrht Third J ntrance, 

n. u. E. Plight Upper Entr :nce. 

D. R. c. Door Right Centre. 



L. Left. 

L. c. Lcfi Centre. 

L. 1 E. Left 1 irst Entrance. 

L. 2 E. Left Gecond \ utrance. 

I,. 3 E. Lf^ft Thid El trance. 

L. u. E. Lo't I pprr Entrance. 

c. D. Centre Door. 

D. L. c. Door Left Centre. 



BE WITT'S mim PLAYS. 



XQr Please notico t!iat nearly t.'A tlie Comedies, Tavces and Comediettas in tli© following 
List of " De Witt's Acting Plays " are very suitiible for rtproseututioa iu buiu.l Amateur 
Theatres and on Parlor Sta;j[es, as thc-y need but l.ttle extrinsic aid iiuui complex scenery 
or expensive costumes. They Lave attained their deserved popularity Ijy their droll situa- 
tions, exceilsnt plots, great Immoraud brilliant dialogues, no less than by the fact that 
they are the most perfect iu every respect of any edition of i)lay8 ever published either iu 
the United States or Europe, whether as regards purity of text, accuracy and fullness of 
stage directions and scenery, or elegance of typography and clearness of printing. 

*;,i* Iu ordering please copy the figures at the commencement of each piece, v.-lUcll 
Indicate the number of the piece in *' De Vvitts List or Acting Plats." 

JJS" Any of the following Plays sent, postage free, on receipt of price— JPi/feeu Cents 
each. 



X:y The figure following the name of the Play denotes the number of Acts, 
flgnrea iu the columns indicate the number of characters — il. male; F. female. 



The 



75. Adrienne, drama, 3 acts. 7 

331. All that Glitters is not (iold, comic 

drama, 2 acts C 

308, All on Account of a Bracelet, come- 
dietta, 1 act 2 

114. Anything tor a Change.comeJy.l act 3 
16?. Apple Blossoms, comedy, 3 acts. .. 7 
93. Area Belle, fai'ce, 1 act 5 

40. Atchi, comedietta, 1 act 3 

89. Aunt Charlotte's Maid, farce. 1 act. 3 

258. Aunt Dinah's Pledge, temperance 
drama, 2 acts 6 

237. Bachelor's Box (La Petite Hotel), 
comedietta, 1 act 4 

166. Bardell vs. Pickwick, sketch. 1 act. 

810. BaiTack Room (The), comedietta, 2a. 6 

41. Beautiful Forever, farce, 1 act 2 

141. Bells (The), drama, 3 acts 9 

223. Betsey Baker, farce. 1 act 2 

67. Birthplace of Podgers, farce, 1 act.. 7 
36. Black Sheep, drama, 3 acts 7 

279. Black-Eyed Susan, drama. 2 acts. . . 14 

296. Black and White, di-ama, 3 acts 6 

160. Blow for Blow, drama, 4 acts 11 

179. Breach of Promise, drama, 2 acts.. 6 
25. Broken-Hearted Club, comedietta. . 4 

70. Bonnie Fish Wife, farce, 1 act 3 

261. Bottle (The), drama, 2 acts 11 

226. Box and Cox, Romance.al act 2 

24. Cabman No. 93, farce, 1 act 2 

199. Captain of the Watch, comedietta, 

1 act , 6 

1. Caste, comedy, 3 acts 6 

175. Cast upon the World, drama, 5 acts.ll 
65. Catharine Howard, historical play, 

3 acts .....12 

69. Caught by the Cuff, farce. 1 act. . . . 4 

80. Charming Pair, farce, 1 act 4 

65. Checkmate, comedy, 2 acts 6 

68. Chevalier de St. George, drama, 3a. 9 
!J9. Chimney Corner (The), domestic 

drama. 3 acts 5 

76. Ch<ip8 of the Chaniif^l, farce, 1 aft. . 3 
105. Circumstancos alter Cases, comic 

operetta, 1 act 1 

149. Cl(»ads. comedy. 4 acts. 8 

UL Uwmi«M«Ou«u«»tWf iM«et lVo«.i4.«« • 



r. 




3 


222. 




248. 


3 


107. 




15-2. 


2 


52. 


3 


148. 


3 




2 


113. 


2 


20. 


3 


286. 




4. 


8 


22. 




275. 


1 


96. 


2 


16. 


2 


58. 


2 


125. 


3 


71. 


2 


142. 


3 


204. 


5 


21. 


2 


2C0. 


3 


210. 


6 


263. 


2 


186. 


8 


242. 


1 


47. 


6 


283. 


1 




2 


202. 




315. 


2 


297. 


3 




5 


200. 




l.'iS. 


5 


230. 


1 


103. 


3 


9. 


5 




3 


128. 




±01. 


2 


99. 


2 


262. 


1 


145. 


7 


102. 


1 


6ftJ 



U. F. 

. Cool as a Cucumber, farce, 1 act.. . . 3 2 
, Cricket on the Hearth, diama, 8 acts 8 6 

. Cupboard Love, farce, 1 act 2 1 

, Cupid's Eye-Glass, comedy, 1 act . . 1 1 

, Cup of Tea, comedietta, 1 act 3 i 

, Cut Off with a Shilling, comedietta, 

1 act 2 

Cyril's Success, comedy, 5 acts .... 10 

, Daddy Gray, drama, 3 acts '. s 

. Daisy Farm, di-ama, 4 acts lo 

Dandelion's Dodges, larcp, 1 act... 4 
, David Garrick, comedy, 3 acts. .... .8 

Day After the Wedding, farce, 1 ait 1 
Dearest Mamma, comedietta, 1 act.. 4 
Dearer than Life, drama, 3 acts.... 6 

Deborah (Leal.), diama, 3 acts 7 

Deerfoot, farce. 1 act 5 

Doing for the Best, drama, 2 acts. , 5 
Dollars and Cents, comedy, 3 acts. . 9 
Drawing Hoom C;ir{A).comedy,l act 2 

Dreams, d i ania, 6 acts.. 6 

Drunkard's Warning, drama, 3 acts 6 3 
Drunkard's Doom (The), drama, 2a.l5 5 
Drunkard (The), drama. 6 acts.. . . 13 
Duchess de la Valliere plav, 5 acts.. 6 

Dumb Belle (The), farce, 1 act 4 

Ear-y Shaving, farce. 1 act 6 

E. C. B. Susan Jane, musical bur- 
lesque, 1 act -8 

Eileen Oge, Irith drama. 4 acts. 11 

Electric Love, farce, 1 act 1 

English Gentleman (An), comedy- 
drama, 4 acts 7 

Estranged, operetta. 1 act ... . 2 

Everybody 8 Friend, comedy, o acts 6 
Family Jars, mnsical farce. 2 acts. . 6 
Faust and Marguerite, d'uma. 3 acts 9 
Fearful Tragedy in the Seven Dials, 

interlude. 1 art 4 

Female Detective, drama. 3 acts 11 

Feniande. drama. 3 a<-t« 

Fifth Whppl. corned v. 3 acts 10 

Fifteen Years of a Drunkard's Life, 

melodrama. 3 acts 13 

First Love, comedy. 1 act 4 

Foiled, drama. 4 aicts 9 

2rwuua«av.i FmM, focve^ l«ci.iit<k.4 



11 10 
2 



DE WITT'S ACTING PLAYS-Continued. 



*>9. 

192. 
7i. 
53. 
73. 



131. 
276. 
3U6. 
277. 

ao3. 

241. 

28. 
151. 
8. 
180. 
303. 

19. 

60. 
191. 
246. 
301. 
224. 
187. 
174. 
211. 
. 64. 
190. 
.197. 
.225. 
•2.Vi. 

18. 
116. 
129. 
159. 
2~H. 
282. 
273. 
243. 
271. 
244. 
270. 
274. 
J 22. 
177. 
100. 
299 
.139. 

17. 
2 i.l. 
309 

86. 

l;7. 

~ i. 
U4. 

34. 
18.>. 
2.5*.. 
111. 
119. 
2.39. 

48. 

32. 
164. 
205. 



M. F. 

Fruits of the Wiue Cup, drama. 3 cts 6 3 

Game of Cards (A), comedietta, la.. 3 1 

Gairick Fever, farce, 1 act 7 4 

Gertrude's Mouey Box, farce, 1 act. 4 2 

Goldeu Fetters (Fetter«U). drama, 3.11 4 
Goose with tlie Goldeu Eggs, farce, 

lact 5 o 

Go to Putuey, farce, 1 act 4 3 

Good for Nothing, comic drama, la. 5 1 

Great Success (A), comedy, 3 acts. . 8 6 
Grimshaw, Bagsbaw aud Bradeshaw, 

farce, 1 act ^ 2 

Heir Appareut (The), farce, 1 act.. . 5 1 

Handy Andy, drama, 2 acts 10 3 

Happy Pair, comedietta, 1 act 1 1 

Hard Case (A), farce, 1 act 2 

Henry Dunbar, drama, 4 acts 10 3 

Henry the Fifth, hist, play, 5 acta.. 38 5 

Her Only Fault, comedietta, 1 act. . 2 2 

He's a Lunatic, farce. 1 act 3 2 

Hidden Hand, drama, 4 acts 5 5 

High C, comedietta, 1 act 3 3 

High Life Below Stairs, farce.2 acts. 9 6 

Hinko, romantic drama, 6 acts 12 7 

His Last Legs, farce, 2 acts 6 3 

His Own Enemy, farce, 1 act 5 1 

Home, comedy. 3 acts 4 3 

Honesty is the Best Policy, play, 1. 2 

Household Fairy, sketch, 1 act. 1 1 

Hunting the Slippers, farce. 1 act. . 4 1 

Hunchback (The), play, 5 acts 13 2 

Ici on Parle Francais, farce, 1 act.. . 3 4 

Idiot Witness, melodrama, 3 acts. ..6 1 

If I had a Thousand a Year, farce, 14 3 

I'm not Mesilf at all, Irish stew, la. 3 2 

In for a Holiday, farce, 1 act 2 3 

In the Wrong House, farce, 1 act.. . 4 2 

Irish Attorney (The), farce, 2 acts.. 8 2 

Irish Broom Maker, farce, 1 act 9 3 

Irishman in Loudon, farce, 1 acts. . 3 

Irish Lion (The), farce, 1 act 8 3 

Irish Post (The), drama. 1 act 9 3 

Irish Tutor (The), farce, 1 act 5 2 

Irish Tiger (The), farce, 1 act 5 1 

Irish Widow (The), farce, 2 acts 7 1 

Isabella Orsiui, drama, 4 acts 11 4 

I Shall luvite the Major, comedy, 14 1 

Jack Long, drama, 2 act* 9 2 

•Joan of Arc, hist, play, 5 acts 26 6 

Joy is Dangerous, comedy, 2 acts. . 3 3 

Kin<l to a Fault, comedy, 2 acts. ... 6 4 

Kiss in the Dark (A), farce, 1 act.. . . 2 3 

Ladies' Battle (The), comedy, 3 acts 7 2 

Lady of Lyons, play, 5 acts 12 5 

L'.\rticle 47, drama, 3 acts 11 5 

Lame Excuse, farce, 1 act. 4 2 

Lancashire Lass, melodrama.4 acts. 12 3 

fiarkins' Love Letters, farce. 1 act.. 3 2 

rj<'ap Year, musical dttality, 1 act — 1 1 

Lend Me Five Shillings, farce, 1 act 5 3 

L ar (The), comedy, 2 acts 7 2 

Life Chase, drama. 5 acts 14 5 

Limerick Boy (The), farce. 1 act 5 2 

Littl(j Annie's Birthday, farce, 1 act..2 4 

Little Rebel, farce, 1 act 4 3 

Little Ruby, drama, 3 acts 6 6 

Little Em'lv, drama, 4 acts 8 8 

Living Rtatue-(Tft«>T Jbrce.-l act.^ ,-.-'9 2 

Loan of a Lover (The), vandevillo,!. 4 1 



M. 

109. Locked in, comedietta, 1 act 2 

85. Locked in with a Lady, sketch 1 

87. Locked Out, comic scene , 1 

143. Lodgers aud Dodgers, larce, 1 act. . 4 
212. Loudon Assurance, comedy, 6 acts 10 

291. M. P., comedy, 4 acts 7 

210. Mabel's Manoeuvre, interlude, 1 act 1 

163. Marcoretti, drama, 3 acts 10 

154. Maria and Magdaleua, play, 4 acts.. 8 
63. Marriage at any Price, farce, 1 act.. 5 

249. Marriage a Lottery, comedy, 2 acts. 3 

208. Married Bachelors, comedietta, la.. 3 
39. Master Jones' Birthday, farce, 1 act 4 

7. Maud's Peril, drama, 4 acts 6 

49. Midnight Watch, drama, 1 act 8 

15. Milky White, drama, 2 acts 4 

46. Miriam's Crime, drama, 3 acts 6 ' 

51. Model of a Wife, larce, 1 act 3 

302. Model Pair (A), comedj-, 1 act 2 

184. Money, comedy, 5 acts 17 

250. More Blunders than One, farce, la. 4 
312. More Sinued against than Sinning, 

original Irish drama, 4 acts 11 

234. Morniug Call (A), comedietta, 1 act. 1 

108. Mr. Scropgius. farce, 1 act 3 

188. Mr. X., farce. 1 act 3 

169. My Uncle's Suit, farce, 1 a':t 4 

216. My Neighbor's Wife, farce, 3 act 3 

236. My Turn Next, farce. 1 act 4 

193. My Walking Photograph, musical 

duality, I act 1 

267. My Wife's Bonnet, farce. 1 act 3 

130. My Wife's Diary, farce, 1 act 3 

92. My Wife's Out, farce. 1 act 2 

218. Naval Engagements, farce, 2 acts. . . 4 
140, Never Reckon your Chick* ns, etc., 

farce. 1 act 3 

115. New Men and Old Acres, comedy, 3 8 

2. Nobody's Child, drama, 3 acts 18 

57. Noemie, drama, 2 acts.. 4 

104. No Name, drama, 6 acts 7 

112. Not a bit Jealous, tarce, 1 act 3 

298. Not if I Know it, larce, 1 act 4 

185. Not so bad as Me Seem, play, 5 act8.13 3 
84. Not Guilty, drama, 4 acts 10 C 

117. Not such a Fool as he Looks, drama, 

3 acts 5 4 

171. Nothing like Paste, farce, 1 act. ... 31 
14. No Thoroughfare, drama, 5 acts 13 6 

300. Notre Dame, drama. 3 acts 11 -8 

269. Object of Interest (An), larce, 1 act. 4 3 

268. Obstinate Family (The), farce, 1 act. 3 3 

173. Off the Stage, comedietta, 1 act 3 3 

227. Omnibus (The), farce. 1 act 6 4 

176. On Bread and Water, farce, 1 act,. . 1 2 

2.54. One Too Many, farce, 1 act 4 2 

33. One Too Many for Him, farce, 1 act 2 

3. £100,000. comedy, 3 acts 8 

90. Only a Hallpenny, farce, 1 act 2 

170. Only Somebody, farce. 1 act 4 

289. On the Jury, drama. 4 acts. 5 

97. Orange Blossoms, comedietta, 1 act 3 
66. Orange Girl, drama. 4 acts 18 

209. Othello, tragedy, 5 acts 16 

172. Ours, comedv, 3 acts 6 

94. Our Clerks, farce. 1 act 7 

45. Our Domestics, comedy-farce, 2 acts 6 

l^a. Our Herow, military pJay,..& aets,^ .24. 
1 78. Out at Scii, (Irania, 5 act3 17 



DE WITT'S ACTING PLAYS -Gontmued. 



M. F. 

147. Overland Route, comedy, 3 acts 11 5 

305. Pair of Shoes (A), larco, 1 act 4 3 

285. Partners for Life, comedy, 3 acts 7 4 

156. Peace at auy Price, farce, 1 act 1 1 

82. Peep o' Day, drama, 4 acts 12 4 

127, Peggy Green, farce, 1 act .3 10 

23. Petticoat Parliament, extravaganza, 

lact 15 24 

'-'93. Philomel, romantic drama, 3 acts... 6 4 

62. Photographic Fix, farce, 1 act 3 2 

61. Plot and Passion, drama, 3 acts. ... 7 2 

138. Poll and Partner Joe, burlesqe, la.. 10 3 

217. Pool- Pillicoddy, farce, 1 act. 2 3 

110. Poppleton's Predicaments, farce, la. 3 6 

50. Porter's Knot,. drama, 2 acts 8 2 

69. Post Boy, drama. 2 acts 5 3 

95. Pretty Horse-Breaker, farce 3 10 

•280. Pretty Piece of Business (A), come- 
dy, 1 act 2 3 

181. 182. Queen Mary, drama, 4 acts 37 9 

196. Queerest Courtship (The), comic 

operetta, 1 act 1 1 

255. Quiet Family, farce, 1 act 4 4 

157. Quite at Home, comedietta, 1 act... 5 2 

132. Race for a Dinner, farce, 1 act 10 

237. Regular Fix (A), farce, 1 act 6 4 

183. Richelieu, play, 5 acts 12 2 

38. Rightful Heir, di-ama, 5 acts 10 2 

77. Roll of the DrUm, drama, 3 acts .... 8 4 
816. Romeo on the Gridiron (A), luono- 

logae, for a lady 1 

195. Rosemi Shell, burlesque, 4 scenes.. 6 3 

247. Rough Diamond (The), farce, 1 act. 6 3 

194. Rum, drama, 3 acts 7 4 

13. Ruy Bias, drama, 4 acta 12 i 

229. Sarah's Young Man, farce, 1 act 3 3 

158. School, comedy, 4 acts, 6 6 

201. School for Scandal, comedy, 5 acts. .13 4 

264. Scrap of Paper (A), comic drama, 3a. 6 6 

79. Sheep in Wolf's Clothing, drama, la 7 5 

203. She Stoops to Conquer, comedy, 5a. 15 4 

37. Silent Protector, farce. 1 act , 3 2 

35. Silent Woman, farce, 1 act 2 1 

313. Single Married Man (A), comic -ope- 
retta, 1 act 6 2 

43. Sisterly Service, comedietta, 1 act. . 7 2 

6. Six Months Ago, comedietta, 1 act.. 2 1 

221. Slasher and Crasher, farce. 1 act... 5 2 

10. Snapping Turtles, duologue, 1 act. . .1 1 

26. Society, comedy, 3 acts ... .16 5 

207. Sold Again, comic operetta, 1 act..i 3 1 

304. Sparking, comediettay 1 act. 1 2 

78. Special Performances, farce, 1 act. . 7 3 
215. Still Waters Run Deep, comedy, 3a. .9.2 
'Jn6. Sweethearts, dramatic contrast, 2a.. 2 2 
232. Tail (Tale) of a Shark, musical mon- 
ologue, 1 scene 1 

31. Taming a Tiger, farce, 1 act 3 

150. Tell-Tale Heart, comedietta. 1 act. . 1 2 
120. Tempest in a Teapot, comedy, 1 act 2 1 



257. Ten Nights in a Bar Room, drama, 

5 acts g I 

146. There's no Smoke without Fire, ** 

comedietta, 1 act J 2 

83. Thrice Married, personation piece, 

1 act 6 1 

245. Thumping Legacy (Aj, 1 act 7 1 

251. Ticket of Leave Man, diama, 4 acts, 9 3 
42. Time and the Hour, drama, 3 acts, 7 3 
27. Time and Tuie, drama, 4 acts 7 5 

133. Timothy to tbe Rescue, farce, 1 act 4 2 
153. 'Ti8 Better to Live than to Die, 

farce, 1 act 2 1 

134. Tompkins tb(; Troubadour, larce. 1, 3 2 

272, Toodles (The), drama, 2 acts 10 2 

235. To Oblige Beuson. comedietta, 1 act 3 2 
238. Trying It On, laice, 1 act 3 3 

29 Turning the Tables, farce, 1 act.. , 5 3 

214. Turn Him Out, farce, 1 act 3 2 

168. Tweedie's Rights, comedy, 2 acts!'. 4 2 

126. Twice Killed, farce, 1 act 6 3 

234. 'Tvvixt Axe and Crown, play, 5 acts.24 13 
198. Twin Sicsters, comic operetta. 1 act. 2 2 

2'>5. Two Bonnycastlcs, farce, 1 act 3 3 

220, Two Buzzards (The), farce, 1 act 3 2 

56. Two Gay Deceivers, face, 1 act .... . 3 

123, Two Polts, farce, 1 act 4 4 

288. Two Roses (The), comedy. 3 acts 7 4 
292, Two Thorns (The), comedy, 4 acts.. 9 4 
294. Uncle Dick'.s Darling, drama, 3 acts 6 5 
1(;2. Uncle's Will, comedietta, 1 act.... 2 1 
lOG. Up for the Cattle Show, farce, 1 act 6 2 

81, Vandyke Brown, farce, 1 act 3 3 

317, Veteran of 1812 (The), romantic mil- 
itary drama, 5 acrs 12 2 

124, Volunteer Review, farce, 1 act, 6 6 

91, Walpole, comedy in rhyme 7 2 

118. Wanted, a Young Lady, farce, 1 act. 2 1 
281. Wanted, One Thousand Spirited 
Young Milliners for the Gold Re- 
gions, farce, 1 act 3 7 

44. War to to the Knife, comedy. 3 acts 5 4 
311. What Tears can do, comedietta, la., 3 2 
105. Which of the Two? comedietta, la,, 2 10 
266. Who Killed Cock Robin? farce, 2a.. 2 2 

98. Who is Who ? farce .3 2 

12, Widow Hunt, comedy, 3acts 4 4 

213. Widow (The), comedy, 3 acts 7 6 

5. William Tell Avith a Vengeance, bur- 

lesque ...,8 2 

„-. (Window Curtain, monologue. . , 1 

I Circumstantial Evidence " 1 

136. Woman in Red, drama, 4 acts 6 8 

161. Woman's Vows and Masons' Oaths, 

drama, 4 acts 10 4 

11, Woodcock's Little Game, farce. 2a,. 4 4 
290. Wrong Man in the Right Place (.\), 

farce, 1 act 2 3 

64. Young Collegian, farce, 1 act, 3 2 



A COMPLETE DESCRIPTIVE CATALOGUE OF DE "WITT'S ACT- 
ING PLAYS AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, 
containing Plotj Costume, Scenery, Time of Representation, and all other informa- 
tion, mailed free and post ^aid.on aiy)lication.. ..Address 

DE ^IVITT, ^3 Rose Street, New Tork. 



DE WITT'S DRAWING-ROOM OPERETTAS. 



E^~ TO MUSICAL AMATEURS. .^^ 

The number of 2Tusical Amateurs, both ladies and gentlemen, Is not only very 
far-j!, b;!t n constantlj iiicreasing, and very naturall}-, for there is no more re^ 
fiiud and pleasant r.io.le of spending lei^-ure Jiours than i:i singing and playing the 
c'ioice pro'j actions of the best Co.npo-iers. Hitherto there has been an almost 'olal 
i ■ ok of suiluble' pieces adapted to a/i evening" s entertainment in Parlors by Amateurs, 
ilf course whole Operas, or even parts of Operas, require orchestral accompaai- 
^iCiits and fall choruses to give them eflcct, and are therefore clearly unfit for 
Amat*^ur pciformance, while a succession of songs lacks the interest given by a 
plot 'itid a contrast of characters. In this series (a UH of which i< givei below) we 
faava endeavored to supply this want. The best lilusic cf popular Composers is wed- 
ded to appropriate words, and the whole dovetailed into plots that are effective as 
mere jyefite plays, but are rendered doubly interesting b}-^ the appropriate and beau- 
tifui Music, specially arranged for tJiem. 



LIST OF DE WITT'S MUSICAL PLAYS, 

PRICE 15 CENTS EACH. 



GS.VP YEAK.-A >rusical Dual- 
ity. By Alpkeu B. Sedgwick. Mu- 
jiic !«elected and .adapted from Of- 
fenbach's celebrated Opera, '* Gene- 
rifrf. tie B rubanf ."'' One Male, one 
Female Cuaracter. 

mz TU N SISTEBS-Comic 

operetta, in O le Art. The Music 
sjlejte 1 from I lie mo;-t popuhir i. um- 
bers in Lk Co( y"s celebrated Opera 
Boufte, '• Giivti Oimfia,"' and th„ 
Libretto v,'rittea bv Ai.frkd B. Sedg- 
wick k. Tuo Male, Two Female 
C laranters. 

S0:.0 VI AI^ ANT) GOT THE 

MONKY.— Comic Operetta, in One 
Act. Taj M'lsic conposed and the 
Libretti) writteii by Alfked B Sedg- 
Avicii. Three Male, One Female 
Character. 

THE QHEEEE^T COUETSHIP. 

—Co nic Operetta, in One Act. The 
Music arrai:^ed from Offenbach's 
cel'^hrated Opera, " La Princesse de 
Trehizoide,"' and the Libretto wTit- 
ter bv Alfred B. Sedgwick. One 
Male,"Oue Female Character. 



ESTEATOED.— An Operett.a, in 
One Act, The Musis arranged from 
Verdi's celebrate I Opera, "// Tiov- 
afore."'' and the feibretto adapted by 
Alfkeu B. Se!)gwick. Tao Male, 
One Female Cuai-actcr. 

OIEOUMSTAITCE^ ALTEK 

CASES.— Comic Operetta, in One 
Act. The nmsic comiwsed and the 
Libretto written by Alfred B. Sedg- 
wick. One Male, One Femaic Char- 
acter. 

MY WALEnrCr PEOTOGEAPE 

—Musical Duality, in One Act. The 
Music arranged from Ls Cocq's 
Opera, "Aa Fille de Madame Angot,'''* 
and the Libretto writtrn by Aj fre» 
B. Sedgwick, One Male, One Fe- 
male Character. 

A SrPrGLE MAEETED M/^N- 

Comic Operetta, in One Act. The 
Music arransred from Offknbach's 
celebrated Opera Bouffe, " Madama 
fArchiduc,''^ and the Libretto writ- 
ten by Alfred B. Sedgwick. Six 
Male, Two Female Chaiactor:*. 



UOLLT MOEIAETY.— An Insh 

Xusical Sketch, in One Act The 
M.jalc composed and the Dialogue 
written by Alfred B. Sedgwick. 
Oui Male, oue Female Character. 
Suiiabl'j for t le Variety Stage. 

T. n\UG7. 0? THE HASH 

BIlK;.\Dii: —A Comic Irish Musical 
Sketc 1 Tlie Music comjxised and 
tbe Librett.) wri(i;n by JosKt-n P 
SKELi.r. Two Male, two Feiiiale 
rtiaruohMT^ JMi mUto fwr tow f\W » rt f 



KINGOPLAGEB 

BEER.— A Musical Ethiopian Bur- 
lesque, in One Act. Music ttud Dia- 
logue by Frank Dumont. Eight 
Male, one Female Cliaracter. Suita- 
blj fur tae Ethioinaa Stage. 

ATE'OATfnS BLTTEBEAED.-A 

Musical Etiiiopiau Burlesque, r.iOno 
Act. Musi.^ and Diiilogiio by Frank 
Dumont. Fo'ir Mnle, four FemaU 
Characters Sui;»;dle tan tbe £J^<f^ 



DE WITT'.S ETHIOPIAN AND COMIC D£AMA.-Continued. i 



33. 

94. 

103. 

1. 
36. 

18. 
60. 
37. 

yo. 

lO'J. 

19. 
149. 
151. 

96. 
147. 

129. 



117. 

44. 

8. 

119. 

49. 
132. 
145. 

22. 

27. 
125. 

30. 
114. 

76. 
91. 

87. 

135. 



M. r. 

Jealous Husband, sketch 2 1 

.Julius the Suoozer. buile-sque, 3 sc. 6 1 
Katiiua's Little Game, Dutch act, 

1 scene 1 1 

Last of the Mohicans, sketch 3 1 

Laughing Gas, sketch, 1 scene 6 1 

Live Injun, sketch, 4 scenes 4 1 

Lost Will, sketch ; 4 

Lucky Job, farce, 2 scenes 3 2 

Lunatic (The), farce, 1 scene 3 

Making a Hit, farce, 2 scenes 4 

Malicious Trespass, sketch, 1 scene. 3 
'Meriky, Ethiopian farce, 1 scene... 3 1 
Micky Free, Irish sketch, 1 scene . . 5 
Midnight Intruder, farce, 1 scene . 6 1 
Milliner's Shop (The), Ethiopian 

sketch, 1 scene 2 2 

Moko Marionettes, Ethiopian eccen- 
tricity, 2 scenes 4 5 

Molly Moriarty, Irish musical 

sketch, 1 scene 1 1 

Motor Bellows, comedy, 1 act 4 

Musical Servant, sketch. 1 scene — 3 
Mutton Trial, sketch, 2 scenes .... 4 
My Wife'sVisitors, comic drama, Isc. 6 1 
Night in a Strange Hotel, sketch, Isc. 2 
Noble Savage, Ethi'n sketch, 1 sc. .. 4 
No Pay No Cure, Ethi'n sketch, 1 sc. 5 

Obeying Orders, sketch, 1 scene 2 1 

100th Night of Hamlet, sketch 7 1 

Oh, Hush ! operatic olio 4 1 

One Night in a Bar Room, sketch . . 7 
One Night in a Medical College, 

Ethiopian sketch, 1 scene 7 1 

One, Two, Three, sketch, 1 scene, . 7 
Painter's Apprentice, farce, 1 scene. 5 
Pete and the Peddler, Negro and 

Irish sketch, 1 scene 2 1 

Pleasant Companions, Ethiopian 

sketch, 1 scf ne 5 1 

Polar Bear (The), fai-ce, 1 scene 4 1 

Policy Players, sketch, 1 scene 7 

Pompey's Patients, interlude, 2 sc. 6 
Porter's Troubles, sketch, 1 scene.. 6 1 

Port Wine vs. Jealousy, sketch 2 1 

Private Bearding, comedy, 1 scene. 2 3 

Recruiting Office, sketch, 1 act 5 

Rehearsal (The), Irish fai*ce, 2 sc... 3 1 
Remittance from Home, sketch. 1 sc. 6 
Rigging a Purchase, sketch, 1 sc. .. 3 



81. 

26. 

138. 

15. 
59. 
21. 

80. 



84. 
38. 
74. 
46. 
69. 
56. 
72. 
13. 
16. 
7. 
121. 

47. 

54. 
100. 
102. 

34. 



M. F. 

Rival Artists, sketch, 1 scene 4 

Rival Tenants, sketch 4 

Rival Barbers' Shops (The). Ethio- 
pian farce, 1 scene 6 1 

Sam's Courtship, farce, 1 act 2 1 

Sausage Makers, sketch, 2 scenes. . 5 1 

Scampini, pantomime, 2 scenes 3 3 

Scenes on th« Mississippi, sketch, 

2 scenes 6 

Serenade (The), sketch, 2 scene's.'. '. '. 7 

Siamese Twins, sketch, 2 scenes 5 

Sleep Walker, sketch, 2 scenes 3 

Slippery Day, .sketch, 1 scene 6 1 

Squire lor a Day, sketch 5 1 

Stage-struck Couple, interlude, 1 sc. 2 1 

Stranger, burlesque, 1 scene 1 2 

Streets of New York, sketch, 1 sc. . . 6 
Storming the Fort, sketch. 1 scene. 5 

Stupid Servant, sketch, 1 scene 2 

Stocks Up ! Stocks Down ! Negro 

duologue, 1 scene 2 

Take It, Don't Take It, sketch, 1 sc. 2 

Them Papers, sketch, 1 scene 3 

Three Chiefs (The), sketch, 1 scene. 6 

Three A. M., sketch, 2 scenes 3 1 

Three Strings to one Bow, sketch, 

1 scene 4 i 

Ticket Taker, Ethi'n farce, 1 scene! 3 

Tricks, sketch 5 2 

Two Awfuls (The), sketch, 1 scene.. 5 

Two Black Roses, sketch 4 ] 

Uncle Eph's Dream, sketch, 2 sc. .. 3 1 
Unlimited Cheek, sketch, 1 scene.. 4 1 

Vinegar Bitters, sketch. 1 scene 6 1 

Wake \xp, William Henry: sketch... 3 
Wanted, a Nurse, sketch, 1 scene. . . 4 
Weston, the Walkist, Dutch sketch, 

1 .«ceue .7 1 

What shall I Take? sketch, 1 scene. 7 1 
Who Died First ? sketch, 1 scene. . . 3 1 

Who's the Actor? farce, 1 scene i 

Whose Baby is it? Ethiopian sketch, 

1 scene 2 1 

Wonderful Telephone (The), Ethio- 
pian sketch, 1 scene 4 1 

Wrong Woman in the Right Place, 

sketch, 2 scenes 2 2 

Young Scamp, sketch, 1 scene...... 3 

Zacharias' Funeral, farce, 1 scene.. 5 



A COMPLETE DESCRIPTIVE CATALOGUE OF DE WITT'S ACT- 
ING PLAYS AND DE WITT'S ETHIOPIAN AND COMIC DRAMAS, 
containing Plot, Costume, Scenery. Time of Representation, and all other informa- 
tion, mailed free and post paid on application. Address 



DE WITT, Publisher, 

38 Rose Street, IVew York. 



LIBRARY OF CONGRESS 

ILp 

015 973 422 5 ^J , 



ii lillspisalile fioolf for Aiateiirs. 



HOW TO MAHA&E 
AMATEtJR THEATEICALS. 



Being plain instructions for construction and arrangement of Stage, 
making Scenery, getting up Costumes, "-Making Up^^ to represent 
different ages and cliaracters, and liow to produce stage Illusions and 
Effects. Also hints for the management of Amateur Dramatic Clubs, 
and a list of pieces suitable for Drawing Room Performances. Hand- 
somely illustrated with Colored Plates. 

Price, 25 Cents, 



DE WITTS SELECTIONS 



AllATEl AHE PAELOR THEATKICALS. 

Xos. 1, 2, 3 & 4. 

Being choice selections from the very best Dramas, Comedies and 
Farces. Specially adapted for presentation by Amateurs, and for 
Parlor and Drawing Room Elntertainments. 

Each number, 25 Cents. 

PANTOMIME PLAY , 

'^HUMPTY DUMPTY." 

The celebrated Pantomime, as originally played for 1,000 nights by tlie 
late GrEOKQE L. Fox. Arranged by John Denier, Esq, Eight male, 
four female characters. 

Price, 25 Cents, 



